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When he returns after the procession has passed (m. 10). The central canto relißioso that follows (m. 1 6 9 - Z 4 7 ) poses perhaps the most difficult technical challenge for the violist in the entire work: the arpeggiated sixteenth-note figure, to be played piano and sul ponticello 48 SINFONIA ANTI-EROICA poco meno J^ e dim. poco a poco iA=3 poco meno f ' It J l t 115 ff e dim. 10 Berlioz, Harold en r 9- Italie/ii, m. 1 4 4 - 1 5 Z : The coordination of soloist and orchestra throughout, is difficult to project evenly and cleanly.

He is, in Berlioz's own words, a "melancholy dreamer" who "sticks to his sentimental nonsense; everything eise is Foreign to him. "5 Berlioz also encouraged critics to view Harold as an autobiographical work, as another "episode in the life of an artist"—a sequel, as it were, to the combined Symphonie fcmtastique (1830) and Lelio (1832). The context of Harold's wanderings is not so much Byron's Italy (recounted in Canto IV of Childe Harold's Filßrimaße) as Berlioz's Italy—and specifically, as the composer himself pointed out, the "poetic impressions" recalled from his "wanderings in the Abruzzi" in 1 8 3 1 - 3 2 .

Poco a poco iA=3 poco meno f ' It J l t 115 ff e dim. 10 Berlioz, Harold en r 9- Italie/ii, m. 1 4 4 - 1 5 Z : The coordination of soloist and orchestra throughout, is difficult to project evenly and cleanly. In its almost etude-like character, it may represent an oblique allusion to Paganini; more likely still, it symbolizes the kind of abnegation and self-discipline that are at the center of the reiigious pilgrim's oudook. Throughout this middle section, the viola continues to eschew the "Harold" theme, and his arpeggiated counterpoint remains rhythmically synchronized with the pilgrims' music.

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An analytical exercise by Euler L.

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